IGrroupLNa365 



Price 10 CeTtts 



Copy 1 



ALDINGl^ 




Pitch Overhand 
Correct Batting 

The Hitting Step 
The Level Swing 

The Follow Through 
Correct Fielding 

By J. B. SHERIDAN 

Originator of the Boys' Championship Diamond \Im 



IM^CAN SPORTS FUBUSHING COMPAIW 
ii ^1( 45 ROSE STREET NEW YORK i 






FOR OUR CUSTOMERS 

THIS ORDER BLANK 

IS FOR YOUR CONVENIENCE 

YOU PURCHASED THIS BOOK AT 



^e also sell a complete line of Spalding 
Athletic Goods as well as all the 
books of the Spalding Athletic Library. 

CONSULT THE FULL LIST 

FOR OTHER BOOKS ON ATHLETICS 



I 



When ordering Athletic Goods use this 
sheet. Simply tear it out along dotted 
line, fill in your wants on the reverse 
side, and mail it with the price as noted. 

E E THE O T H ER SIDE 




Gentlemen 



Enclosed please find $- 



for which send me the articles listed below 



Ust 
Number 


Quantity 


Description of Article 


Price 
















































































































(See other J 



SPALDING ATHLETIC LIBRARY 

SPALDING OFFICIAL. ANNUALS 

No. 6. SPALDING'S OFFICIAL ICE HOCKEY GUIDE. . . . Price 10c. 
No. 7A. SPALDING'S OFFICIAL WOMEN'S BASKET BALL GUIDE. Price 10c. 
No. 9. SPALDING'S OFFICIAL INDOOR BASE BALL GUIDE. . Price lOc. 
No. 12A. SPALDING'S OFFICIAL ATHLETIC RULES (A. A. U.). . Price lOc. 
No. IR. SPALDING'S OFFICIAL ATHLETIC ALMANAC. . . Price 25c. 
No. 3R. SPALDING'S OFFICIAL GOLF GUIDE. .... Price 25c. 

No. 55R. SPALDING'S OFFICIAL SOCCER FOOT BALL GUIDE. . Price 25c. 

No. 57R. SPALDING'S LAWN TENNIS ANNUAL Price 25c. 

No. 59R. SPALDING'S OFFICIAL BASE BALL RECORD. . . . Price 25c. 
No. iOOR. SPALDING'S OFFICIAL BASE BALL GUIDE. . . . Price 25c. 

No. 200R. SPALDING'S OFFICIAL FOOT BALL GUIDE Price 25c. 

No. 700R. SPALDING'S OFFICIAL BASKET BALL GUIDE. . . . Price 25c. 
No. IC. SPALDING'S OFFICIAL BASE BALL GUIDE (^ISft^?.") . Price 25c. 

(Prices subject to change without notice.) 



Specially Bound Series of Athletic Handbooks 

In flexible or cloth binding. Mailed postpaid on receipt 
of 75 cents each number. 

STROKES AND SCIENCE OF LAWN TENNIS 

HOW TO I'LAY GOLF 

HOW TO TLAY FOOT BALI. 

ART OF SKATINO 

(iET WELL— KEEP WELL 

HOW TO LIVE 100 YEARS 

HOW TO WRESTLE 

HOW TO TLAY LAWN TENNIS; HOW TO PLAY 
TENNIS FOR BEGINNERS 

BOXING 

DUMB BELL EXERCISES 

JIU JITSU 

SPEED SWnmiNG 

WINTER SPORTS 

HOW TO BOWL 

SCHOOL TACTICS AND MAZE RUNNING; CHIL- 
DREN'S GAMES. 

TEN AND TAVENTY MINUTE EXERCISES 

INDOOR AND OUTDOOR GYMNASTIC GAMES 

SPALDING'S OFFICIAL BASE BALL GUIDE 

SPALDING'S OFFICIAL FOOT BALL GUIDE 

SPALDING'S OFFICIAL BASKET BALL GUIDE 

(JOLF FOR GIRLS 

HOW TO PLAY BASE B.ALL; HOW TO MANAGE 
A TEAM, ETC. 

SPALDING'S LAWN TENNIS ANNUAL 

HOW TO PITCH. 

HOW TO BAT 

In addition to above, any 25 cent "Red Cover" book listed in 
Spalding^'s Athletic Library will be bound in flexible or cloth 
binding for 75 cents each: or any two 10 cent "Green Cover" or 
'"Blue Cover "books in one volume for 75 cents. Mention style 
desired. 



No. 


50 IL 


No. 


.'50^ L 


No. 


503 L 


No. 


504 L 


No. 


.'•05 L. 


No. 


5001, 


No. 


5071,. 


No. 


508L. 


No. 


509L. 


No. 


5101, 


No. 


511L. 


No. 


51 2L. 


No. 


51 3 L. 


No. 


51 4L. 


No. 


516L. 


No. 


5171,. 


No. 


51 8 L. 


No. 


51!)L, 


No. 


520L. 


No. 


52 IL. 


No. 


.TJSL. 


No. 


52 3L. 


No. 


524L. 


No. 


525L. 


No. 


52GL. 



(.Continued on the next page.) 



ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE 



SPALDING ATHLETIC LIBRARY 

Red Cover Series, 25c, Blue Cover Series, 10c. Green Cover Series, 10c. 



No. 

83R 



Group 1. Base Ball 

"Blue Cover " Series, each number 10c. 

No. 202 How to Play Base Ball 

No. 219 Ready Reckoner of Base Ball 

Percentages 
No. 224 How to Play the Outfield 
No. 225 How to Play First Base 
No 226 How to Play Second Base 
No. 227 How to Play Third Base 
No. 228 How to Play Shortstop 
No. 229 How to Catch . 
No. 232 How to Run Bases 
No. 350 How to Score [ners") 

No. 365 Base Ball for Boys ("Begin- 
No. 9 Spalding-'s Official Indoor 

Base Ball Guide 
"Red Cover " Series, each number 25c. 
No. 59R. Official Base Ball Record 
No. 79R. How to Pitch 
No. 80R. How to Bat 
No. SIR. How to Umpire 
No, 82R. Knotty Base Ball Problems 
fHow to Organize a Base Ball 
League 
How to Organize a Base Ball 

Club 
How to Manage a Base Ball 
Club 

I HowtoTrainaBaseBallTeam 
I How to Captain a Team 
LTechnical Base Ball Terms 
No. IGOR. Spalding's Official Base Ball 

Guide 
No. IC Spalding's Official Base Ball 
Guide. Canadian Edition 

Group II. Foot Ball 

"Red Cover" Series, each number 25c. 
No. 200R. Spalding's Official Foot Ball 

Guide 
No. 47R. How to Play Foot Ball 
No. 55R. Spalding's Official Soccer 

Foot Ball Guide 
No. 39R. How to Play Soccer 
Group III. Tennis 

"Blue Cover " Series, each number 10c. 

No. 157 How to Play Lawn Tennis 

"Red Cover" Series, each number 25c. 

No. 2R. Strokes and Science of Lawn 
Tennis 

No. 26R. Official Handbook National 
Squash Tennis Association 

No. 42R. Davis Cup Contests in Aus- 
tralasia 

No. 57R. Spalding's Lawn Tennis 
Annual 

No. 76R. Tennis for Girls 

No. 84R. Tennis Errors and Remedies 

N -J. 85R. How to Play Tennis; for Girls 
(Continued on the next page. Prices 



Group IV. Golf 

"Green Cover" Series, each number 10c. 
No. 2P. How to Learn Golf 
"Red Cover" Series, each number 25e. 
No. 3R. Spalding's Official Golf 

Guide 
No. 4R. How to Play Golf 
No. 63R. Golf for Girls 

Group V. Basket Ball 

"Blue Cover" Series, each number 10c. 
No. 7a Spalding's Official Women's 

Basket Ball Guide 
No. 193 How to Play Basket Ball 
''Red Cover " Series, each number 25c. 
No. 700R. Spalding's Official Basket 
Ball Guide 

Group VI. Skating and Winter Sports 

"Blue Cover " Series, each number 10c. 
No. 6 Spalding's Official Ice Hockey 
No. 14 Curling [Guide 

"Red Cover" Series, each number 25c. 
No. 8R. The Art of Skating 
No. 20R. How to Play Ice Hockey 
No. 28R. Winter Sports 
No. 72R. Figure Skating for Women 

Group VII. Track and Field Athletics 

"Blue Cover" Series, each number IJc. 

No. 12a Spalding's Official Athletic 
Rules (A. A. U.) 

No. 27 College Athletics 

No. 55 Official Sporting Rules 

No. 87 Athletic Primer 

No. 156 Athletes" Guide 

No. 182 All Around Athletics 

No. 255 How to Run 100 Yards 

No. 302 Y. M. C. A. Official Handbook 

No. 317 Marathon Running 

No. 342 Walking for Health and Com- 
petition 

"Green Cover" Series, each number 10c. 

No. 3P. How to Become an Athlete 
By James E. Sullivan 

No. 4P. How to Sprint 

"Red Cover " Series, each number 25c. 

No. IR. Spalding's Official Athletic 
Almanac 

No. 45R. Intercollegiate Official Hand- 
book 

No. 48R. Distance and Cross Country 
Running 

No. 70R. How to Become a Weight 
Thrower 

No. 77R. A. E. F. Athletic Almanac 
and Inter-Allied Games. 

subject to change without notice.) 



ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE 



SPALDING ATHLETIC LIBRARY 

Red Cover Series, 25c. Blue Cover Series, 10c. Green Cover Series. 10c. 



Group VIII. School Athletics 

"Blue Cover " Series, each number 10c. 
No. 246 Athletic Training for School- 
boys 
"Red Cover" Series, each nuviher 25c. 
N0.6IR, School Tactics and Maze Run- 
ning : Children's Games 
No. 66R. Caiisthenic Drills and Fancy 

Marching and Physical Training for 

the School and Class Room 
No. 74R. Schoolyard Athletics 

Group IX. Water Sports 

"Blue Cover " Series, each number 10c. 
No. 128 How to Row 
No. 129 Water Polo 

"Red Cover" Series, each number 25c. 

No. 36 R. Speed Swimming 

No. 37R. How to Swim 

No. 60R. Canoeing and Camping 

rrnnn Y Athlctlc Gamcs for 

uroup A. Women and Girls 

"Blue Cover " Series, each number 10c. 
No. 7a Spalding's Official Women's 

Basket Ball Guide 
"Red Cover" Series, each number 25c. 
No. 38R. Field Hockey 
No. 41R. Newcomb 
No. 63R. Golf for Girls 
No. 69R. Girls and Athletics 

Group XI. Lawn and Field Games 

"Blue Cover " Series, each number 10c. 
No. 170 Push Ball 
No. 180 Ring Hockey 
No. 199 Equestrian Polo 
No. 201 How to Play Lacrosse 
"Red Cover" Series, each number, 25c. 
No. 6R. Cricket, and How to Play It 
No. 43R. Archery, Ro que. Croquet, 
English Croquet, Lawn Hockey, 
Tether Ball, Clock Golf, Golf-Croquet, 
Hand Tennis. Hand Polo, Wicket 
Polo, Badminton, Drawing Room 
Hockey, Garden Hockey, Basket 
Goal, Pin Ball, Cricket 
No. 86R, Quoits, Lawn Bowls, Horse- 
shoe Pitching and Boccie. 

Group XII. Miscellaneous Games 

"Blue Cover " Series, each number 10c. 
No. 13 American Game of Hand Ball 
No. 364 Volley Ball Guide— new rules 
"Red Cover" Series, each number 25c 
No. 49R. How to Bowl 
No. 50R. Court Games 



Group XIII. Manly Sports 

"Blue Cover" Series, each number 10c. 

No. 282 Roller Skating Guide 

"Red Cover" Series, each number 25c. 

No. IIR. Fencing Foil Work lUustrat- 

No. 19R. Professional Wrestling [ed 

No. 21R. Jiu Jitsu 

No. 25R. Boxing 

No. 30R. The Art of Fencing 

No. 65R. How to Wrestle 

No. 78R. How to Punch the Bag 

Group XIV. Calisthenics 

' 'Red Cover" Series, each number 25c. 

No. lOR. Single Stick Drill 

No. 16R. Team Wand Drill 

No. 22R. Indian Clubs and Dumb 

Bells and Pulley Weights 
No. 24R. Dumb Bell Exercises 
No. 73R. Graded Calisthenics and 

Dumb Bell Drills 

Group XV. Gymnastics 

"Blue Cover" Series, each number 10c. 

No. 124 How to Become a Gymnast 

No. 254 Barnjum Bar Bell Drill 

No. 287 Fancy Dumb Bell and March- 
ing Drills 

"Red Cover" Series, each number 25c. 

No. 14R. Trapeze. Long Horse and 
Rope Exercises 

No. 34R, Grading of Gym. Exercises 

No. 40R. Indoor and Outdoor Gym- 
nastic Games 

No. 52R. Pyramid Building 

No. 56R. Tumbling for Amateurs and 
Ground Tumbling 

No. 67R. Exercises on the Side Horse; 
Exercises on the Flying 
Rings 

No. 68R. Horizontal Bar Exercises ; 
Exercises on Parallel Bars 

Group XVI. Home Exercising 

"Blue Cover" Series, eacli number 10c, 
No. 161 Ten Minutes' Exercise for 
No. 185 Hints on Health [Busy Men 
No. 325 Twenty-Minute Exercises 
"Red Cover" Series, each number 25c 
No. 7R. Physical Training Simplified 
No. 9R. How to Live 100 Years 
No. 23R. Get Well ; Keep Well 
No. 33R. Tensing Exercises 
No. 51R. 285 Health Answers 
No. 54R. Medicine Ball Exercises. 
Indigestion Treated by Gymnastics, 
Physical Education and Hygiene 
No. 62R. The Care of the Body 
No. 64R. Muscle Building ; Health by 
Muscular Gymnastics 



(Prices subject to change without notice.) 



ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE 

6-2-20 



..^ 




J. B. SHERIDAN 



Strauss. Photo 




SPALDING'S ATHLETIC LIBRARl 
No. 365 



Base Ball 



Beginners 



Pitching Overhand 
Correct Batting 
The Hitting Step 
The Level Swing 
The Follow -Through 
Correct Fielding 



J. B. SHERIDAN 

Originator of the Boys' Championship 



Diamond 



A Perfect Position 
PUBLISHED BY 

AMERICAN SPORTS PUBLISHING 
COMPANY 

45 ROSE STREET, NEW YORK 



// 



i>0(. 



Copyright, 1920 

BY THE 

American Sports Publishing Company 
New York 



©CI.A576408 

'EP 17 1320 



11 



Foreword 

The American boy who wishes to become a Base Ball player 
will find that it is much easier to secure professional instruc- 
tion in golf, tennis, swimming, etc., than in his National Game. 
Everywhere the American boy finds golf instructors, tennis 
instructors, boxing instructors, wrestling instructors eager to 
teach him their games. Large cities employ competent golf and 
tennis instructors to teach the youth. 

Base Ball instruction for the boy who wishes to play the 
National Game of the American people is coming. The author 
advocates it and it is in the hope of bringing about a correction 
of this obvious deficiency heretofore existing in American sport 
that this book is written. The objects of the book are : 

First — To help the American boy learn to play Base 
Ball correctly by directing his attention to the styles of 
the great players of the professional field and by pro- 
viding him with a proper ^sized ball and proper sized 
diamond, and his own regular official playing field. 

Second — To help, by discussion, comparison and selec- 
tion, in establishing a standard style and school of Base 
Ball and a standard school of coaches competent to teach 
Base Ball to American youth as golf instructors teach 
golf. 

The standards and styles advocated in this book are not 
theoretic or imaginary. They are based on the styles and 
standards of the great players of the past and of the present. 
The author presents photographs to prove the truth of his text. 
It is the author's hope, however, that this shall be regarded as 
the first timid word ventured in styles and standards of Base 
Ball play. It is by discussion, comparison and selection that we 
arrive at correct conclusions. Therefore, the author courts the 
fullest and freest discussion of the theories advanced and prac- 
tises approved in this little book. Criticism designed to assist 
in constructing our standards of play and standards of styles, 



4 SPALDING'S ATHLETIC LIBRARY. 

together with advice from competent instructors, will be not only 
welcomed, but is earnestly solicited. 

While this book is primarily designed to impart the funda- 
mentals of Base Ball to "the fundamentals of Base Ball" 
(American boys), the author ventures the hope that it will be 
found not uninteresting or unprofitable by all Base Ball players, 
even by the stars of the professional arena, by their employers, 
by the writers of the game, and by the general public. 



■UJLu^ 



SPALDING'S ATHLETIC LIBRARY. 



The Author's Qualifications 

J. B. Sheridan is the Base Ball expert of the St. Louis Globe- 
Democrat and The Sporting News of St. Louis, the weekly 
Base Ball paper. He has been a close student of boys' Base 
Ball for twenty-five years. Ten years ago he submitted his 
theories and observations to a practical test. In 1910 he organ- 
ized the Wabada Boys' Base Ball Club, for boys under fourteen 
years old. They played with a small ball on a small diamond. 
From that boys' club have sprung the following present major 
league players : 

Ruel, catcher of the New York Americans; Roth, catcher of 
St. Louis Nationals; O'Neil, catcher of Boston Nationals; 
Schmandt, infielder, Brooklyn ; Lunte, third baseman, Cleve- 
land; High, center fielder. Athletics. Thus we find six of the 
fourteen-year-old Wabada boys in the major leagues. All three 
of the Wabada catchers are in the major leagues. Six players 
from one fourteen-year-old boys' club, none of them now over 
twenty-four years old, is a remarkable record. In addition, 
there are three former Wabada boys in Class AA, three in 
Class A and one in Class B. Only three of the twenty-five 
boys who at one or another time played on the Wabada team, 
1910-14, have, for any reason, failed to make good in profes- 
sional ranks. 

St. Louis is credited with turning out more good Base Ball 
players than any city in the United States. Mr. Sheridan has 
played no small part in securing this honor for St. Louis. Mr. 
Sheridan attributes the phenomenal success of the Wabada boys 
in Base Ball to the fact that they played with fhe boys' size 
ball — 4 3-4 ounces in weight and not more than 8 3-4 inches in 
circumference — on the small diamond. 

"It is simply hopeless," Mr. Sheridan says, "to try to teach a boy 
to play Base Ball on a man's size diamond with a man's size 
ball as it would be to try to teach him to run sprints in Cobb's 
shoes or in Wagner's knickerbockers. You woufd not ask a 
boy of twelve or fourteen to bat with Wagner's bat. Why ask 
him to pitch Mathewson's distance with the National League 
ball?" 

Interested beyond all things in Base Ball for boys, Mr. 
Sheridan personally took up the matter of the Official Boys' Dia- 
mond and, for boys under sixteen years of age, the Boys' 
Official Ball, with the Joint Rules Committee of the National 
and American Leagues at their meeting in Chicago, February 
10-14, 1920. At Mr. Sheridan's suggestion the Joint Rules Com- 



6 SPALDING'S ATHLETIC LIBRARY. 

mittee approved the Boys' Official Ball, weight not over 4 3-4 
ounces, circumference not more than 8 3-4 inches. 

This approval not only gives boys under sixteen an official 
diamond and an official ball ; it gives them official standing in 
Base Ball. Many municipal playgrounds will now put in boys' 
size diamonds. For the first time in the history of Base Ball 
the American boy, under sixteen, has an official diamond, a 
ball and a standing of his own. 

Not content with giving the boys of America all these things, 
Mr. Sheridan now gives them a book on Base Ball of their 
own. Mr. Sheridan says that he has but one request to make 
of the American boy : It is that he use the boys' size ball and 
the boys' size diamond, and play with dash and high spirit. 
Unless the boy uses the official boys' size ball, Mr. Sheridan 
despairs of his learning to play Base Ball. 

John B. Foster, 
Editor Spalding's Official Base Ball Guide. 



SPALDING'S ATHLETIC LIBRARY. 



When a Boy Plays Base Ball 

When a boy begins to play Base Ball he will get a Spalding 
Official National League Junior Base Ball. 

It is possible to play some Base Ball with just a ball. To 
play real Base Ball, such as the National and American Leagues 
design to help the boys of America to play, you should get, in 
addition to a ball : 

A pair of Spalding Base Ball shoes. 

A Spalding uniform. 

A Spalding glove. 

A Spalding bat. 

A Spalding Official Base Ball Guide. 

I will speak of the latter first. You cannot play ball cor- 
rectly, no matter how well equipped, unless you know the rules. 
In some instances the rules have been difficult to understand. 
Mr. Foster, the editor of the Guide, has taken each rule sepa- 
rately and made a detailed explanation of what the rule says 
may or may not be done. The infield fly, the force, the balk — 
all of these stumbling blocks— are explained. 

Know the rules. 

Shoe plates, erroneously called "spikes," are a most important 
factor in playing Base Ball. It would be impossible to have 
League Base Ball without their assistance. They are of the 
greatest importance. Also a light, strong, well-fitting shoe. Some 
great players, Cobb among them, pay more attention to the fit 
and feel of their shoes than they dO' to all other things. 

You can make shift to play with any sort of a glove. You 
may even play without a glove. You may hit with a bat that 
does not suit you. You may play with an indifferent ball. But 
you cannot play good Base Ball in ill-fitting shoes or in shoes 
without good shoe plates. 

Be particular about the fit of your shoes. Lace them care- 
fully. Cobb often spends half an hour fitting and lacing his 
shoes prior to taking part in a game. Buy good ones. Care 
for them as for your batting eye. Keep them clean. Oil them 
carefully after each game Have them shining for your next 
game. No good Base Ball player will wear unclean, untidy, 
ill-fitting shoes. 

A good glove is also a necessity. Such gloves are to be 
found at the sporting goods stores selling Spalding goods. A 
uniform "makes" a team and saves street clothes. It costs little 
and is, in tlie end, a great economy. Keep the shoes and glove 



8 SPALDING'S ATHLETIC LIBRARY. 

soft and well oiled. Keep the uniform clean and neat. Your 
mother will show you how to wash it. Wash it yourself. Do 
not let your mother do it. Keep your uniform well pressed. 
Never appear for a game in an unclean or untidy uniform. 
Learn how to wear your uniform with style; with an air of 
distinction. 

Dress for a Base Ball game as you would for a social affair 
or a school commencement or to call upon your best giil. Be 
clean. Be tidy. Keep your stockings up. Fasten your belt 
tightly. Wear a clean cap gaily. Keep your hair cut. Keep 
your head up. Remember that you are an American boy, as 
good as any boy that lives, playing the great American game of 
Base Ball. The gay, airy, clean, tidily dressed Base Ball player 
makes a favorable impression. Spectators like to see clean, 
tidy, gay, business-like boys play Base Ball. Everyone likes 
neatness and efficiency. 

Choose a bat to suit your strength. The best way to choose 
a bat is to "like the feel of it." If it feels good in your hand; 
if you feel as if you can hit with it, buy it. 

It is best that a boy shall not use a bat too heavy for him, 
nor one too long nor too short. A good deal depends upon the 
build of the boy and his strength and his natural style of hit- 
ting. Favor lightness over weight, though the best wood is, 
alas, heavy. 

Having chosen a uniform, shoes and glove, the boy can now 
proceed to 

PLAY BALL! 



SPALDING'S ATHLETIC LIBRARY. 



Fundamentals of Pitching 

SPECIAL NOTE. 

It is of the utmost importance that boys under sixte,en shall 
use no ball heavier than the Official Boys' \size Base Ball, not 
over 4 3-4 ounces in zveight and not more than 8 3-4 inches in 
circumference, in pitching. 

A heavier ball will prove hard to pitch and injurious to the 
arm. A boy can't get the speed and curve on a big, heavy ball 
that should be got on a pitched ball. 

It is desirable that, for boys under sixteen, the pitching dis- 
tance' shall be not more than 50 feet, as provided for in the 
Official Boys' Size Diamond. Any greater distance imposes too 
great a strain on the arm of a young boy. 



The game begins with the pitch. So pitching is the first thing 
that all young players should learn. When the fundamentals 
of pitching are well understood the fundamentals of batting and 
fielding are made much easier to learn. 

These fundamentals are: 

First — A good position on the rubber. Carefully study the 
pitching rules. 

Second — A good grip with the shoe plates on the rubber and 
on the ground. This is of the greatest importance. 

Third — A free, full overhand motion. 

Fourth — A good fast ball. 

The first thing to do when you start to pitch is not throw the 
ball, but to learn how to stand on the rubber. 

"That is easy," you will say. "All you have got to do is to 
put your foot on the rubber." 

Not at all. As a sheer matter of fact, many major league 
pitchers do not know how to stand on the rubber. Indeed, 
many great pitchers never have had good positions on the 
rubber. Very few pitchers do what all pitchers should do; that 
is, makq use of all parts of the rubber — both ends, the center, 
etc. Most pitchers dig a hole for the pitching toe and pitch 
every ball from that hole. 

PROPER USE OF RUBBER. 

A pitcher can use all of the rubber with great advantage to 
himself. Many pitchers take up their positions on the rubber by 
putting one foot on it and the other in the rear of it. This 




1 — Starting the pitch. 2 — At the top of the svviiiR. 3 — The foUow-through. 



SPALDING'S ATHLETIC LIBRARY. 11 

position is an infraction of Rule 30, which says that "both ieet 
shall be squarely on the ground and in front of the pitcher's 
plate; and in the act of delivering the ball to the bat, he must 
keep one foot in contact with the pitcher's plate defined in 
Rule 9." 

So, to take up a pitching position with one foot in the rear 
of the rubber, is a balk. 

Young pitchers should be exceedingly careful to start out by 
taking the proper position on the rubber. Begin right. Both 
feet should be on the rubber. We lay down no hard and fast 
rule, however, for positions or play here. The player should 
rememiber that he is given the widest possible latitude in select- 
ing hisi own positions on the pitcher's rubber and at the bat. 
Differences of physical build and temperament will compel 
players to vary, to some extent, in their positions and stances. 
("Stance," a golf term denoting position of feet,^ almost 
expresses, by its sound, what is meant.) The underlying prin- 
ciples of correct style will still prevail among the good players, 
no matter how widely their individual peculiarities may vary, 

TAKE TIME IN PITCHING. 

One bit of advice to the young pitcher before he begins to 
pitch. It is : 

Take your time. No hall pitched in a hurry can he a good 
hall. Be as deliberate as you please before winding up to pitcH. 
Take your time, especially when the batters zvant you to hurry. 
If you have been hit a couple of times in succession, go slowly. 
Not in any case does the pitcher lose anything by going slowly. 

On the other hand, don't be so slow as to be a drag on the 
game. Lay out and pursue a middle course. 

"Play" has been called. The batter is ready. The coachers 
begin their chatter. The team behind you is talking and encour- 
aging you. The ball is in your hand. Your catcher gives you 
the sign. 

Pitch. 

HOW THE BALL SHOULD BE HELD. 

How do you hold the ball in your hand for the pitch? 

For a fast ball : Hold the ball firmly between the tips of the 
two first fingers and the first joint of the thumbs Use as little 
of the fingers and of the thumb as you can, but get a good 
firm grip on the ball. 

The importance of holding the ball in the extreme tips of the 
fingers and thumb, consistent with a firm grip, is that the less 
finger and thumb space you lay on the ball the more speed you 
will get on the pitch. 



» 




1 — Correct grip for curve ball. 2 — Correct grip for fast ball. 3 Correct 

grip for change of pace, ball far back in fingers. 



SPALDING'S ATHLETIC LIBRARY. 13 

The fast ball owes nothing to the thumb but the service of 
being held in place. The fast ball should be pitched off the tips 
of the first and second fingers. Too much thumb on it will 
take awayt from the speed and "shoot," or "hop," or "wave," 
that is so important to a fast ball. 

Boys under fifteen have found it hard to curve the "big" ball 
when grasping it between the fingers and thumb. So they have 
shifted over between the second and third fingers and the base 
of the thumb. This habit is enough to ruin any young pitcher. 
It ties up his fingers, locks his wrist, stiffens his arm action, 
deprives him of a free overhand motion, reduces his speeds, 
spoils his control, and prevents him from developing the change 
of pace, all of which are of the greatest value in pitching. Don't 
pitch the curve ball off the base of the thumb. Grip the ball as 
far forward in the fingers and thumb as you find effective. Let 
the arm hang easily by your side. Stand easily on the plate with 
both feet. Take the sign from your catcher. Let him know that 
his sign has been taken and will be respected. Wind up easily 
and slowly. We mean, of course, with no one on base. 

The young pitcher's wind-up must suit him. He must be the 
judge of that. A long, easy wind-up, several swings of the arm 
around the head, is to be commended. Some good pitchers use 
a very short wind-up. Get the "spikes" well into the rubber 
and into the ground. Having wound up, you go back for your 
pitch. Slowly, slowly. If you go back too fast you will lose 
your balance and control. Your eye will become confused. 
"Slow back" is a golden axiom in golf that isr as good in Base 
Ball. Go back slowly for your pitch when the bases are not 
occupied. Do not, at any time, go back with a violent jerk. 

While going back keep your eye on the exact spot where you 
mean to put the ball. Never take it off. Let the free foot go 
up as high as it wants to go. Bend the knee if it wants to 
bend. Go slowly, but do not stop or pause during the motion. 
When you get back as far as it is convenient to you, do not 
pause at the finish of your backward swing. Come forward 
powerfully and vigorously, but not violently. 

"Bending far back" is almost indispensable to good pitching. 
Rube Waddell always said that he pitched good ball only when he 
was bending away back. Walter Johnson, a lithe, supple-jointed 
man, goes back so far that his knuckles almost touch the 
ground when he reaches the limit of his back swing. How far 
a pitcher shall go back depends upon himself, upon his build, 
his leg power, his back power, his weight, his physical condition 
and his temperament. 

In any event, go back as far as is convenient to you. Try to 
develop as full a swing as is possible. 



14 SPALDING'S ATHLETIC LIBRARY. 

Putting too much force on the ball— pressing— is bad. Come 
along with a powerful sweep all the way from your spikes. 
Come with the hand well over the line of the shoulder. Let 
the ball go off the finger tips at the right time. The proper 
time will indicate itself to you. Learn not to stop your body 
motion when you let go the ball, but continue it until it stops 
of its own accord. Follow through. Almost all the good 
pitchers "follow through" well. 

Never take your eye off the place you mean the ball to go 
until the catcher has it in his mitt or the batter pops up a fly. 

Don't try to put too much speed on your pitch. Just use a 
good free overhand motion, keeping well within your power. 
Don't try to put all the strength you have on every ball. Skill, 
not strength, does the work. Practise, not brute strength, will 
teach you how. Work easily. A pitcher should always have 
lots of strength in reserve. 

HOW SPEED IS PRODUCED. 

Speed is not produced solely in the shoulder or arm. Speed 
and power get their origin in the spikes. That is what makes 
spikes, and the way you use them, so important in Base Ball. 
The young pitcher should learn to get a firm grip on the edge 
of the rubber with both heel and toe spikes. His whole body, 
his speed, his control, his success depends upon getting a good 
grip on the rubber with his spikes. Speed comes, first, from 
the spikes; then, from the toes and the instep; then, from the 
ankle, the knee, the thigh, the hip, the back, the shoulder, the 
upper arm, the forearm, the wrist and the first and second 
fingers. Even the muscles of the abdomen help to produce speed. 

No one of these thingsi can alone produce speed. You must 
get all the machine to work together with an easy, smooth, cer- 
tain motion. Too much stress cannot be laid on the value of a 
good grip with the spikes on the pitching rubber. It is one of 
the vital essentials in pitching. 

BE PARTICULAR ABOUT CONTROL. 

Do not be disturbed if you lack control when you first try to 
pitch. Get the correct motion and the necessary speed. Then, 
before you try the curve or anything else, get control. This is 
done by constant, careful practise. Control does not mean, as most 
young pitchers think it means, putting the ball through the center 
of the plate. Control means putting the ball just where you want 
to put it. Control, to me, means keeping the ball on or near the 
corners, not through the center of the plate. There are four cor- 
ners to the plate. To snip the edge of any of these corners or 



SPALDING'S ATHLETIC LIBRARY. ]5 

sides is as much a strike as if you laid the ball through the very 
center of the plate, which is ihc place where the batter wants you 
to put it. Never put a ball in the middle O'f the plate if you can 
avoid doing so. Keep the fast ball high. It "shoots" best when 
kept high. Some batters like high balls. For these, a fast ball at 
the knee is very effective. Or inside, over the hands. Or under 
his chin. 

WHAT MAKES A FAST BALL "HOP"? 

However, a good fast ball, even when pitched through the 
middle of the plate, is good against all but professionals. The 
average amateur gets so little hitting that he cannot hit fast 
enough to correcHy time a good fast ball. So a real, good fast 
ball, even, without a "shoot," will beat almO'St all amateur batters. 
A good fast ball that "hops" or "waves" will beat fhe best bat- 
ters in the world. The "hop" or "wave" is caused by the air 
packing up in front of the fast ball so that it impedes its speed. 
The air forms a cushion in front of the ball so heavy that, to 
avoid it, the ball, especially if it has a little backspin on it, will 
hesitate for an incalculable period of time, then will rise, or 
slide off the cushion of air, taking on renewed speed when it 
overcomes the impediment. This "wave," "hop," "shoot," as it 
is called, is almost unhittable. The ball changes direction just 
as the batter hits at it; "hops" or "waves" over his bat, or 
"shoots" in, so that it hits the handle of the bat. Further, this 
"hopping" fast ball comes at the batter with three different 
speeds, all condensed into few inches of space, just at the time 
the batter starts hfs swing. 

No wonder "Miner" Brown, one of the greatest of all pitch- 
ers, said that he did not fear to pitch his fast ball to the 
batter's strong point when it was "hopping." 

The best of these three changes of direction is the "hop" or 
the "wave." This "hop," or "wave," or "shoot," cannot be pro- 
duced at will. The best pitchers in the world, famed for their 
"hops" or "waves," such as Charley Nichols, "Cy" Young and 
"Miner" Brown, had days when they had lots of speed but 
could not get a "hop" on the ball. That is why Brown said 
"if" when he spoke of the virtues of his fast ball. 

The "hop" and "wave" have their basis in a nice, easy over- 
hand, letting the ball go off the tips of the fingers with a 
sort of backspin. They cannot be produced by pressing or by 
any intentional act of the pitcher. They just happen. 

Walter Johnson, like Young, depends almost entirely upon his 
fast ball. There have been times when Johnson has been hit 
hard. It is safe to assume that at these times Johnson's fast 
ball was not "hopping." A fast ball without a "hop" or^ "shoot" 




1— Willie Mitchell starting a pitch. 2— Ruether finishing one 



SPALDING'S ATHLETIC LIBRARY. 17 

may not be effective against professionals, though it have great 
speed. The fact that the fast ball will not always act as it 
should act is what makes change of pace and curve so valuable 
to a pitcher. 

Change of pace, based on the possession of a ripping good 
fast ball and control, is among the greatest assets O'f a pitcher. 
After it comes a good, fast, quick-breaking curve. 

WHAT A PITCHER SHOULD HAVE. 

Given a good fast ball and three changes of pace — medium 
fast, medium, and medium slow — a pitcher will not need a curve 
at all. If he has a good slow ball, too, he should be invincible, 
even in the fastest company. A good motion means good con- 
trol. I have never seen a pitcher with a good motion who did 
not have good control. Good control comes naturally with a 
good motion, as day comes after night. On the other hand, it 
is almost impossible to secure good control with a bad motion. 

An instance of how lack of control will handicap an other- 
wise great pitcher is to be seen in the case of Grover Lowder- 
milk, who has had a varied career in both major and many 
minor leagues. Lowdermilk had one of the very best fast balls 
ever pitched and a good curve. His fast ball is almost unhittable. 
It has a tremendous inshoot and great speed. But Lowdermilk 
never had a good motion. So he never could acquire control. 
He has always been noted for giving an enormous number of 
bases on balls. Bad control, due to a fundamentally bad motion, 
cost Lowdermilk a high place in Base Ball. 

Get control. Control is the result of a good fundamental 
motion and diligent practise. 

ABOUT SIDEARM PITCHERS. 

If you are a natural ot confirmed sidearm thrower and fi.nd 
it easy to pitch that way and difficult to go up overhand, pitch 
as is easiest to you. Some sidearm pitchers are very effective. 
They throw a heavy ball-" with a wide "inshoot" and get a good 
curve. But sidearm is hard on the arm. It is hard to get control 
with it; almost impossible to develop change oi pace, and side- 
armers wear out much quicker than overhanders. 

Some people class Walter Johnson as a sidearm pitcher. He 
is not "dead, overhand," but he brings his arm above his 
shoulder for his pitch. Anything above the shoulder is over- 
hand, while anything between the shoulder and the hip is sidearm. 

Sidearmers are unthinkable in the outfield. They get neither 
distance nor accuracy. 

Every young pitcher should have what is known as "one off 
the hip," which means ai sidearm ball thrown by turning the 



18 SPALDING'S ATHLETIC LlBttAKY. 

back to the batter and jerking the ball at the plate from the 
hip. This is a sort of sidearm ball and may be practised later 
on. A sidearm cross-fire is also useful. A good pitcher should 
be able to use the sidearm at times, but overhand should always 
be the fundamental style of pitching and of throwing. 

HOW TO GET CHANGE OF PACE. 

Change of pace is of vital importance. The point in change of 
pace is this-' "The batter must always be ready to defend the 
plate against a fast ball. Til give him a sloiv, or slower, ball." 

Next to a good fast ball, change of pace is the thing to be 
most desired, even more desired than a curve. Pace is changed 
by shifting the ball back into the fingers, taking the first joints 
of the fingers off the ball and pitching it from the second joints, 
gripping it with all four fingers and thumb spreading the two 
first fingers far apart, and pitching the ball from between them 
and the thumb. Some pitchers do not change grip on the ball 
to get a change of pace, but hold back the shoulder muscles or 
moderate the entire motion. These latter devices are not to be 
recommended. Practise with the various grips indicated will tell 
the young pitcher what particular grip is best for him. 

A straight, slow ball which is really good sho'uld float, without 
spinning or revolving, to the batter. The slow ball is very hard 
to acquire. It is, of course, a change of pace and a great asset 
when it is good. It is usually pitched close into the batter's 
neck or low on the outside corner. It is not wise, as a rule, to 
pitch a slow ball high or over the plate. Many pitchers, however, 
do drop a slow curve into the exact center of the plate to catch 
the batter off guard. To throw a slow ball in a pinch, with the 
call three balls and two strikes, is one of the most daring and 
dangerous but the most attractive — and, often, most effective — 
of pitching feats. Only a finished pitcher should essay this play. 
The slow ball is used more as a deceiver, away from the plate, 
than as a "plate splitter." It should be preceded by a fast ball 
or fast curve. When a batter has been looking at speed, or 
expects speed, a change of pace puzzles him sadly. He will hit 
too quickly at the ball, miss, or pop up a fly. 

PITCHING THE CURVE BALL. 

When a young pitcher has mastered the fast ball and change 
of pace and has acquired reasonable control he may work to 
develop a good curve ball. 

To produce the curve (drop or out) the ball should be held 
much as it is held for the fast ball. Probably the young pitcher 
will find that he must apply more finger and thumb space to tlie 



BPAIiDINQ'S ATHLBTIO LIBRARY. 19 

ball to get a curve than he appHed to get a fast ball. He must 
grasp the curve ball farther back in the fingers and thumb than 
for the fast ball. 

Having got the correct grip on the ball for the curve, pitch it 
with exactly the same motion as that with which you pitch the 
fast ball. Go back as far as is convenient to you. Come for- 
ward with an easy swing. As the hand passes the point of the 
shoulder, give the wrist a quick snap outward, let the ball roll 
off the side of the fingers instead of off the tips of the fingers, 
as with the fast ball. Aim to make the ball "break" or "curve" 
at a certain point and to put it either over the plate for a strike, 
or to carry it away from the batter, so that he may miss it or 
hit it with the end of his bat for a weak grounder, a fly, or 
a foul. 

Do not slow up on your speed to produce a curve. Try to 
pitch a curve with as much speed as you get on your fast ball. 
The faster the curve the better. Of course, the curve is sus- 
ceptible to all the changes of pace to which a fast ball is suscep- 
tible. Learn, first, to pitch a fast, quick-breaking, ripping curve. 
Then change the pace on it from fast to medium fast, to 
medium, to slow. You can put as many variations of pace on 
a fast or curve ball as you wish to put on it. 

However, a pitcher, especially a young pitcher, can try too 
many varieties of balls. Few professional pitchers can success- 
fully practise all the numerous devices and tricks of the art. 
For all purposes a good fast ball, a good curve, and three 
changes of pace — medium fast, medium, and slow — will carry a 
pitcher to the highest places in the major leagues. Many major 
league pitchers have not any one of these. 

If you have not a sound style you will not go very far in any 
game or last very long. Some men, without any style, succeed 
for a short time. They rarely endure. 




1 — Huggins' base on balls stance. 2 — Schulte's fine stance with forward 
foot well into the line of the pitch, and shoulder in also. 



SPALDING'S ATHLETIC LIBRARY. 



Pitchers' Peculiarities 

Pitchers have personal peculiarities which are often of great 
value to them. A man who pitches a fast ball with a slow 
motion bothers a batter very much. A slow ball with a fast 
motion is almost quite as worrisome. A trick of natural hesi- 
tation in delivery is also very puzzling. The pitcher who steps 
before he throws (Mathewson did this) worries a batter very 
much. He expects the arm and the ball to come with the step. 
He gets ready to hit to the step. The ball does not come with 
the foot. Hence, the batter is oflf balance when the ball comes. 

These little peculiarities should be preservd in pitchers. All 
pitchers cannot use the same motion, the same time, etc. Build, 
muscular construction, temperamental differences will make 
variation enough in pitching. We will, and should, have some 
sidearmers, some underhanders. But for general usage, the 
overhand motion — the free arm swing — is the proper thing for 
pitching and for long throws. A wise coach will, however, 
preserve a valuable peculiarity of a pitcher, even if it may seem 
to violate good style. 






1 — Position of pitcher's feet on rubber with no one on base. 2 — Position of 
pitcher's feet on rubber, runner on first. 



SPALDING'S ATHLETIC LIBRARY. 23 



Pitching with Runners on Base 

With a runner on first or second base the pitcher must change 
the position of his feet on the rubber and shorten his swing. 
He puts one foot on the rubber and advances the other foot 
well towards the batter. Then he watches the base-runner's lead 
that it may not be too long. When ready to pitch, he does so 
without any wind-up and with a short motion. Do not go back 
for this motion with a jerk. Go back smoothly, and come for- 
ward the same way. Follow through well. With a runner on 
third a pitcher may take a long wind-up, but not too long or too 
slow, lest the runner steal home. 

Some advise young pitchers not to worry about runners on 
base ; not to weary themselves by throwing to base to hold run- 
ners on. 

I disagree. Hold the runners close to base. Throw easily, 
steadily to base, to hold runners on. Six, seven or eight times 
to first base. When a runner has to slide back six or seven 
times he will not be as fast as if he didn't have to slide at all 
Don't press the throw to base or try to nip the runner off. Use 
a steady, sure throw. Drive him back rather than catch him off. 
Then, after several deliberate throws, snap one over quickly and 
you may catch him. 

Throwing to first while a nervous batter worries at the plate is 
good tactics. Let him worry. Take your time. Ho-ld the run- 
ners close to the bags. Never mind the "away from home" 
crowd. 



d 



% 



■J 1 



~', 



"^ 






^- ^* 



1 .x^ 


1 

2 : « 


% 


1 


, '^' 


1 'iji 

- 


a 


1 

4 : . ,. 



SPALDING'S ATHLETIC LIBRARY. 25 



What Constitutes Good Pitching 

Good pitching, in my opinion, means aot placing the ball over 
the "heart of the plate," but in "tickling" the edges and "cor- 
ners," or, better still, by inducing the batter to hit at balls 
pitched "off" the plate. To induce a batter to hit at bad balls 
you must have something to induce him to hit at it. "Tie a 
blue ribbon" on it, or make it look like a sugar plum. In other 
words, make it look too good to be let alone. 

When a pitcher means to pitch a ball "off" the plate he should 
never put much "stuff," speed or curve on it, but "dress it up" 
to look "soft" to the batter. When you must put the ball over 
the plate, put all you have on it — a good "hop," a sharp, fast 
curve ; or, in a pinch, a good change of pace. Keep it as low or 
as high as possible, yet within the legal limits of a strike. A 
good low ball at the knee is very hard to hit, especially if it is 
a curve or has a good shoot on it. But if the fast ball is "hop- 
ping," the shoulder is^ as good a place as any. 

The pitcher should never, if he can possibly avoid it, put the 
ball over the plate between the batter's thighs and the letters on 
his shirt. That is the "groove" where they hit them hardest 
and farthest. 

So keep the ball as low, as high and as much on the inside 
and outside of the plate as is possible. The ball at the knee will 
bother more batters than any other ball. The pitcher who can 
vary his fast ball and curve two inches below the knee and two 
inches above it will not be hit very much. 

THE ELEMENTARY PRINCIPLES. 

The first principles of pitching should incorporate ability to 
throw the ball at every conceivable angle likely to delude the 
batter, and at the same time never go exactly across home plate, 
avoiding it by inches as much as possible. In other words, my 
theory of control is control just to miss home plate, and not to 
aim directly over home plate, which is a theory no doubt much 
opposed to that of others. 

The scheme of this system is contained in Figures 1 to 12, 
illustrated in the accompanying three pages. As it is impossible 
in a drawing to show the relation of the ball to the home plate 
when the ball is at varying heights, the expedient has been adopted 
of elevating the plate in an imaginary manner so that the reader 
will form an idea of where the ball would pass the actual home 
plate when thrown at the height indicated. All dotted lines of 
which the ball is a part as sketched are lines of direction from 
the position oi the pitcher. 



1 


mmmm , 


• f , 


I 


-1^ 


j^^ 



m5 



t 



mmamK 



A^: 



1 



\ 






' -J 



1 



SPALDING'S ATHLETIC LIBRARY. 27 

In Fig. 1, for example, I am illustrating pitching "off" the 
plate. The dots, showing the imaginary surface of the top of 
home plate below the knee and above the shoulders, are arranged 
with the customary triangular back, as home plate fits into the 
base lines. The ball, as indicated, is in the positions for which 
the pitcher should strive. He should keep away from the center 
of home plate as much as possible. In Fig. 2 the ball is shown 
being pitched waist high just outside the plate. In Fig. 3 it is 
shown being pitched waist high just inside the plate. In Fig. 4 
it is shown being pitched above the shoulder and just inside the 
plate. When pitched inside the plate it is the general custom to 
use speed, which bafifles the batter, because the ball, close to 
him, cannot be gauged successfully and is hit on the bat handle. 

In Fig. 5 the ball is being pitched just outside the plate and 
above the knee. In Fig. 6 it is being pitched just inside the 
plate and below the knee. In Fig. 7, inside the plate and above 
the knee. In Fig. 8 I have illustrated the cross-fire in an exag- 
gerated manner, in order that the beginner may understand the 
principle. The cross-fire must be deceptive from the start of 
the pitch to the finish. 

In Fig. 9 the ball is shown outside the plate, neck high, a ball 
which will fool batters who are disposed to "chase" the ball. In 
Fig. 10 it is shown inside the plate, shoulder high. This is 
deceptive to the batter who does not follow the ball all "the 
way up" with his eye. In Fig. 11 the ball is shown going 
directly over the plate but below the knee. If the batter is 
clever he will not swing at such a ball, as the umpire must call 
it a ball. The principal point about the use of this ball, how- 
ever, is that it is of the type at which few batters can forego 
swinging, and if they meet it they are more likely to lift the 
ball into the air for an easy out than they are to bat it safely. 
In Fig. 12 the ball is shown inside home plate and belov^ the 
knee. This is a ball which deceives pronounced low ball hitters 
with a tendency toward a free swing. 

It is possible to hit all of these balls, which have been illus- 
trated as just outside home plate, but they cannot be batted 
with the same degree of certainty and force as the ball which 
is centered on the plate. Pitchers should not center the ball. 
Of course, there are times when the ball must be pitched over 
the plate, and the pitcher should be able to "whistle it over the 
plate" when the emergency arises, but I again repeat that my 
theory of pitching is the control which just avoids the plate, 
"teases" the batter all of the time, and induces him to strike at 
bad balls that "look good." That weakens his attack, even 
though he is meeting the ball constantly. The pitcher should 
try to obtain that control which brings about weak hitting 



. ^ 


% 


i ' 


1 






4 




\ \ \ - 

9 


JL 


10 


1 


■ t. 


'^^ 




5> 


1 


-.■^t 



12 



SPALDING'S ATHLETIC LIBRARY. 31 



Fundamentals of Batting 

Whatever you may do at the bat, be aggressirr. Atlaek. Never 
let the pitcher drive you into a condition of defense. When a 
batter defends, he is beaten. Grab the npper hand. Hold it. Go 
at him. 

Attack! Attack!! ATTACK!!! He may strike you out 
three ti})ies. Attack him the fourth time as if you had made 
three home runs off him. 

Most boys use a bat that is too heavy. They can't swing it 
properly. So it swings them. They grip it out of balance, so 
lose force of stroke. Only boys with very good eyes can use a 
long bat and take a long swing. A short bat is desirable for 
boys who have not good hitting eyes and who take a short- 
hitting step. A model between the Elberfeld and the Zimmer- 
man bats manufactured by A. G. Spalding & Bros, is very good 
for most boys. 

Having bought a bat, take care of it. A good bat is priceless. 
It should be) to the ball player what a rare violin is to the 
musician. Every boy should own his own bat. This is of the 
utmost importance. You can't pick up any bat and hit with it. 
Own and take care of your own bat. Take it with you every- 
\vhere you play. You can't do yourself justice with any but 
your own bat. Yet many professional players will go out with- 
out their own bats and pick up and bat with any bat they can 
find. This is doing themselves a great injustice. Own, prize 
and take care of your own bat. 

PROPER GRIP ON THE BAT. 

The grip of the hands on the bat is important. The best 
advice that can be offered is to grip it after the fashion that 
"feels best" to you. Many great hitters grip the bat with the 
hands some distance apart. Cobb is one of these. Other 
greater hitters have the hands as close together as possible. I 
favor this last grip. Cobb is unique, a "freak," so to speak, in 
Base Ball. He bats with his head, his feet, everything. Most 
players bat with the hat. If you are a Cobb, all right. Do as 
you please. But the average boy will be an average player and 
should follow the average, standard style. If he is an excep- 
tion, he will show it. 

HOLDING THE BAT IN BALANCE. 

It is of the greatest im.portance that you shall grip the bat 
so that it will balance well in the hand. Most boys grip the 




Bad stand and bat grip. Forward foot and shoulder away from plate. 
Bat held out of balance. 



SPALDING'S ATHLETIC LIBRARY. 33 

bat too close to the extreme end. Some bats balance well when 
held by the extreme end. 

Most bats balance best when held four or five inches from the 
end. A good deal depends on the strength of the hitter. Eugene 
Paulette apparently handicaps himself by holding his bat at 
the extreme end. This seems to make the blade of the bat too 
heavy and to have the effect of making the bat swing Paulette 
instead of Paulette swing the bat. I think that Paulette would 
be a much better hitter if he held the bat shorter, in good bal- 
ance. Fielder Jones once made Paulette hold the bat in balance 
some four or five inches from the end. The player looked 
much better batting that way. But he must have disliked the 
style. He returned to his old habit oi holding the bat by the 
extreme) end. Frank Schulte, a great hitter, held his bat at the 
extreme end. It balanced there. Schulte's bat had but an inch 
or two of hitting face, right on the end. Only a man of great 
wrist power and of extra good eye could use such a bat effec- 
tively. The average batter will find a medium bat', which bal- 
ances four or five inches from the end, with as long a hitting 
face as possible, most serviceable. 

Many good hitters "choke," that is, hold, the bat far up the 
handle and hit with a short chop rather than with a swing. 
Billy Keeler, a great hitter,, was the leading exponent of this 
style. '^Choking" the bat is advisable for boys who lack really 
good eyes. A "choked" bat and "chop" swing, a wide stance 
and shortened hitting step, are to be recommended to boys who 
lack good eyes and who have a habit of stepping away from 
the pitch; also for boys who look for bases on balls. Miller 
Huggins was a good exponent of the Keeler "choked" bat, chop- 
hitting and short-stepping style. 

THE WAGGLE AT THE PLATE. 

While standing to the plate, awaiting the pitcher's pleasure, 
the batter "waggles" or swings the bat tO' and fro. A few 
batters hold the bat on the shoulder without motion. 

Which method is best? 

There ca:n be no harm in the waggle or gentle horizontal 
motion of the bat to and fro, provided the motion is not vio- 
lent and is to the rear of the batter rather than in front of him. 
A quick or violent waggle is bad. It tends to throw the batter 
off balance, enables the pitcher to catch him off balance and 
interferes with the surety of the eye. Never push the bat out 
in front of you and shake it or waggle it there. A quick 
delivery will find you unready to hit — "tie you up," as Base 
Ball players say. If you do hit, you hit late, then your swing 
is "smothered" by the ball and you put up a fly ball to the 



34 SPALDING'S ATHLETIC LIBRARY. 

infield. Most good batters use the gentle, easy waggle while at 
bat. A few, Ray Chapman for instance, hold the bat perfectly 
still, as far back as they intend to hold it, and are always ready 
to hit from that position. 

Chapman's method of handling the bat is to be commended 
to those who can easily employ it. But most batters are nervous 
and will waggle the bat. If you must waggle the bat, do so 
easily, to and fro, along the level of the belt. Do not take up 
the bat and waggle it at the level of the shoulder or of the 
eyes ; shake it at the pitcher, so to speak. A low ball will worry 
a batter who waggles the bat above his shoulder. A fast ball 
will catch him unready to meet it. Similarly, a high ball will 
bother the batter who waggles the bat below the line of the belt. 
The line of the belt is the best place for the waggle while 
awaiting the pitcher. There, the bat is in the best hitting zone. 
Also it does not please most catchers to have the bat waggled 
across their eyes as they crouch behind the plate. 

The waggle should never go so far as to twist the forward 
shoulder away from the line of the pitch. To do^ so causes 
unnecessary motion of the head and eye, which is bad for 
hitting. 

The ^stiller the head and eye are kept when hitting, the better 
for the hitter. Golfers have long ago r.ecognised this fact. Only 
a very good eye can be good zvhUc the head or the spine is in 
motion. 

STANCE IMPORTANT IN BATTING. 

Next to a good eye, the most important thing in batting is 
a good "stance" — or stand — at the plate. A good "stance" pro- 
duces a good step and a good swing. These things are almost 
as important as a good eye. So every boy should read, and 
re-read, this chapter on stance carefully, and carefully observe 
the stances of the great players pictured in this book and in the 
Spalding £ase Ball Guide. There are many variations of stance. 
Underlying all of them is one great standard style practised, in 
one way or another, by all the great professionals. 

The standard stance of all great hitters is : 

Stand with the feet as close together as is comfortable and 
easy. Be particular to take an easy stance at the bat. 

The foot nearest the pitcher is in closer to the line of the 
pitch,; or the inside line of the batter's box, or to the plate, 
than the rear foot. This position is imperative if you wish to 
become a good hitter. Without a single exception, all the good 
hitters deliver their blows with the forward foot closer to the 
line of the pitch than the other foot. Groh of Cincinnati and 
Lajoie stanced full facing the pitcher. One would think they 
hit that way. Not at all. They take an original stand different 



SPALDING'S ATHLETIC LIBRARY. 



from most good hitters. But they shift position as the pitcher 
wmds up. When they deHver their bat stroke they have the 
forward foot and shoulder closer to the line of the pitch than 
the near foot and shoulder. The slioulder, of course, follows the 
foot. 

THE FORWARD FOOT AND SHOULDER. 

There is no point in this hook which is so urged upon the 
young player as to be sure that, when he hits, his forward foot 
and shoulder shall he closer to the line of the pitch than the 
rear foot and shoulder. Next to a good eye, this is the most 
vital point ill batting in Base Ball. 

I will go so far as to say that yo-u 
cannot become a good hitter unless 
you have the forward foot and shoul- 
der closer to the line of the pitch than 
the back foot and shoulder. Every 
good hitter hits that way. No bad 
hitter hits that way. No good hitter 
steps away from the line of the pitch. 
Most bad batters do step away. The 
great batters usually take but one 
step to hit. They take stances in the 
box so that this step puts the for- 
ward foot even with or a little ahead 
of the front of the plate. This is 
good batting. The pitcher must at- 
tack the plate. The place to meet his 

Speaker's beautiful pitch is at the plate, 

"sneak up." 

VARIETIES OF HITTING STEP. 

Some batters take two, or even three, steps to hit. Groh and 
Lajoie take three steps, two to get into proper hitting position, 
the forward foot and shoulder into the line of the pitch, then 
the hitting step. Speaker usually hits with one step, but now 
and then takes a beautiful panther-like sneak of three short 
steps upon the pitch. 

Speaker's "sneak up" is so taking that we will discuss it at 
length here. 

Speaker takes his usual standard stance. When the pitcher 
starts his wind-up Speaker takes two short, slow steps forward, 
then another step to hit. This is a beautiful and effective style 
for a man who has an eye good enough to use it. I cannot 
praise it too warmly. It is the most beautiful attack I have 
ever seen made by a batter on a pitched ball. 




r 




Speaker's standard stance and beautiful swing, started at the level of 
the shoulder. It is hard to improve upon this. 




Joe Jackson's "sneak' 
and batting step. 



SPALDING'S ATHLETIC LIBRABT. 37 

Jo-e Jackson, probably one of the 
greatest straightaway hitters of all 
time, has a peculiar, effective, and, to 
some extent, illegitimate step. Jack- 
son takes the standard stance. As 
the pitcher winds up Jackson "steals" 
in with his forward foot until the toe 
almost touches the edge of the plate. 
He steps straight ahead for his 
swiiig from that position. 

Cobb's style varies. In the main it 
is standard, back so far in the box 
that a single step brings his forward 
foot just beyond the front line of the 
plate. But Cobb will stand in all 
parts of the box, will take one, two, 
three or tive steps, step in, step away, 
step back, do anything. Cobb is a 
unique player and cannot be recom- 
He is inimitable. If you are another 
That is all. 



mended for imitation. 
Cobb, why be another Cobb ? 

Cobb is a batter who got ideas by observing .others, and every 
time that any boy hears that Cobb can do this and Cobb can do 
that, let the boy remember that Cobb was not too proud to watch 
the other fellow, and note what he did. He compared the per- 
formances of other players with his own, and availed himself of 
every point which he thought would make his own work better. 
He watched stance, grip, start — indeed, everything — and was not 
backward a1)out saying that he did so. 

J. Carlisle Smith, for instance, has a bold and taking, yet not 
certain, attack on the pitch. Smith full-faces the pitcher. When 
the latter winds up Smith takes a run. He may take two or three 
or four or five steps. Smith hits well. His gallant attack is 
very attractive. But it requires a wonderful eye to execute it 
successfully. Groh is the only man who has an eye good enough 
to hit well while running up on the ball. Groh does not run up 
as Smith runs. 

Speaker's stance at the plate and attack on the ball is effective, 
beautiful and may be copied by young players with vast advan- 
tage. Jackson has a good style for hard hitters. Groh's style 
is very good for boys who have eyes good enough to use it 
effectively. But all motion, even the motion of the head without 
any motion of the feet or body, is trying on the eye. 

Groh and Lajoie have one vast advantage in their style of 
hitting: They move in' and out to the pitch, and the pitcher 
cannot, in the words of the diamond, "stand 'em up." 




Sisler keeps his forward foot and shoulder well Jutu the line of the pitch 
and swings with a level bat. 



SPALDING'S ATHLETIC LIBRARY. 






J. Carlisle Smith's run-up 
in batter's box. 



Groh's shift. From rear 

of batter's box toward 

home plate. 

That is to say, he cannot measure their steps or the probable 
reach of their bats and keep the ball out of reach. They are 
liable to step farther in than he expected and hit a ball pitched 
far inside the plate. They never get stuck in the ground, as 
the old players called batters who put their foot in one hole 
and kept it there. They move to the pitch. They are very hard 
to men "to pitch to." 

Speaker's style is beautiful and good. So are the styles of 
Joe Jackson, Hornsby, Elmer Smith, Max Carey, George Sisler 
and practically all the great hitters. While they vary in indi- 
vidual traits, they all hit alike, stand back of the plate, take one 
step to fetch their forward foot to or a little beyond the front 
line of thei plate, keep the forward foot and shoulder closer to 
the line of the pitch than the other foot, and swing with a 
level bat. 

CHAPMAN'S STANDARD STANCE. 

Ray Chapman would have a perfect stance if he lowered .the 
bat end just a trifle. The forward shoulder and toe are well 
intoi the line of the pitch, much farther than the rear foot and 
shoulder ,•! the bat is held well back, ready for the pitch; the 
poise of the body is easy and calm, the entire pose one of 
"Ready." 

It is important to note here that no matter where they hold 
the bat or "waggle" it while waiting for the pitch, all good 
hitters start their swing from the point where Chapman holds 
his bat, still, and ready to hit. Ruth, Speaker, Baker, Hornsby, 



40 



SPALDING'S ATHLETIC LIBRARY 




Standard stance and one batting 

step, the fundamental of all 

good batting. 




George Davis's shift, from 
either side of plate. 



Jackson, Pipp, all of them start their swings from as far back 
as, is natural to them. They waggle the bat to and fro. So, 
when they want to start their swings, they must go back to the 
point from which Chapman, holding the bat there all the time, 
starts. 

This may or may not give Chapman a decided advantage 
over all batters who waggle the bat or who hold it in front of 
the body. He does not have to disturb his eye by going back 
for his swing. All unnecessary motion does handicap and 
unsettle the eye. As the eye is the most important of all things 
employed in hitting, it is most important that it shall not be in 
any way handicapped or disarranged. 

It will be noted that Chapman always presents three-quarters 
of his back to the view of the pitcher as he stands at the bat. 
While most good hitters — Ruth, Speaker, Jackson; in fact, all 
of them — face towards the pitcher, so that three-quarters of 
their chests are visible to him, they all draw back the bat to 
hit, so that, when they start their swings, three-quarters of 
their backs are, like Chapman's, visible to the man on the rubber. 

Chapman may or may not gain an advantage from taking the 
position from which the swing starts when he steps into the 
batter's box. But one thing he surely does — he starts his swing 
from the true standard, fundamental position, without making 
any motion to disturb his eye. 

Golfers who are expert in hitting all waggle the club and 
lay it against the back of the ball, then draw back for the 



SPALDING'S ATHLETIC LIBRARY. 



swing. It may be that in refusing to 
waggle his bat Chapman loses some- 
thing in power of swing. As he is 
one of the leading right-handed hit- 
ters in the game, it does not seem 
that Chapman loses anything by re- 
fusing to waggle his bat or to hold it 
opposite his body. 

This point is left, open to debate. 
If ever decided, it will be by pro- 
longed tests and the fullest discus- 
sion. For the present it is sufficient 
to say that Ruth, Speaker, Jackson, 
Cobb, Sisler and other great hitters 
all hit in a standard style which may 
be safely imitated by young batsmen. 
But if a young batter wants to try 
Chapman's stance he should not be 
advised against doing so. He cannot 
get the stance suitable to his peculiar 
genius unless he experiments. 



41 




A bad batting step, away 
from home plate, — worst 
of all batting faults. 



WATCH THE GREAT PLAYERS. 

Watching the feet, step, body, bat, hands and swings of the 
famous batters is a splendid way of learning to hit. Pick out a 
star hitter whose build yours resembles. Watch his style, his 
feet, his waggle, his swing. You may be obliged to modify any 
chosen stance to suit your own peculiar physical, mental and 
optical limitations. You may resemble a great hitter in build. 
A difference in eye may prevent you from adopting his style. 
The eye plays a large part in forming a hitting style. Men who 
have exceptionally good eyes, like Groh and Lajoie, can take 
liberties with a pitched ball that men with eyes less keen can- 
not take. So, in choosing a great player as a model, it is well 
to imitate, take the average, the standard, for a model, and to 
let the extraordinary players alone. 



BEST HITTING STEPS. 

Having secured a good, sound, standard stance, the young 
batter can study step. I like one step, though Speaker's trick 
of two short steps and a third step to hit is good. Step easily, 
yet firmly. Do not hit before or after; your step. Hit with 
your step. The bat should meet the ball as your foot strikes 
the ground at the finish of your hitting step. Keep the foot 
close to the ground as you step. A high step is a bad fault. 



2 SPALDING'S ATHLETIC LIBRARY. 

THE ADVANTAGE OF A LEVEL SWING. 

One last word of advice about hitting style. Next to a good 
eye and a good stance and a good step is, "Swing with a 
level bat." 

A level swing is most important. The reason is that if the 
bat is held level it will meet the ball sooner or later during the 
swing. You will not miss and strike out. A down stroke or an 
up stroke will carry across the path of the ball and is very 
liable to mistime and miss it. A level bat will meet the ball 
somewhere, even if the ball is mistimed. 

THE THREE STROKES OF BATTING. 

There are three fundamental standard strokes in batting. 
They are, for a right-hander, the Pull, to left field; the Drive, 
to center field, and thei Cut, to right field. 

A bunt may be pulled, driven or cut. A ball hit to right field 
with a full swing is not a cut. It is a "slice." A cut is driven 
with a short "chop," mostly a motion of the wrists, and is a 
deliberate attempt to hit to right field. Most balls hit to right 
field on a hit-and-run play are cut, not driven. The left-hand 
batter, of course, "pulls" a ball to right field and "cuts" it to 
left field. Of these three strokes the most natural, the most 
commonly made and probably the most useful, is the "Pull." 

It is of great importance to remember that to "pull" a ball you 
must hit it before it gets even with your body. All good hitters 
meet the ball zvell ahead of the body zvhen they want to pull it. 
Amateurs, and poor hitters, hit late. Good hitters are quick hit- 
ters. The "pull" is the most natural stroke. To make it you 
must hit quickly and meet the ball well before it gets to the plate. 

Balls pitched inside the middle line of the plate are easiest 
to "pull." It is almost impossible to "pull" a fast ball which 
comes high on the outside corner of the plate. So balls inside 
the middle line of the plate may be pulled to advantage, while 
balls on the outside corner may be driven to center. 

A fast ball is best suited to cutting. By letting a fast ball 
come well over the plate and' hitting with a quick, short, chop 
stroke, a right-hand batter can get a nice single to right. The 
cut is of vast value when playing the hit-and-run play, hitting 
behind a runner, to right field. To cut successfully, you must 
keep well away from the ball. It is impossible to cut a ball 
which comes close to the body. 

Very few Base Ball players cut well. Yet the stroke is a 
very essential one. It demands a fast ball, a quick eye and a 
pair of strong wrists. The arms^ and body cut little figure in 
the cut stroke. As the cut of a left-handed batter attacks the 



SPALDING'S ATHLETIC LIBRARY. 43 

weakest spot on the diamond, third base, it shouhi be practised 
by left-handed hitters. Jesse Burkett, a great left-handed hitter, 
was ahnost entirely a cutter. 

BE A GOOD WAITER. 

Try to be what is known as a good ball hitter. Make the 
pitcher pitch until he gives you a good ball to hit. Do not be 
a "bad ball" hitter. Make him put them over the plate. A good 
waiter, a batter who makes the pitcher throw from seven to 
ten balls, is a valuable man on a team, even if he does not hit 
very heavily. . . . , 

Learn to get away quickly after you hit. A slow getaway 
after the hit handicaps most amateurs. But hit before you 

^^ Evei^ ^ba"tter should be a good hunter. Pick the exact spot 
on which you wish to lay the ball. Stand flat-footed until the 
ball actually meets your bat. Then run. , 

Do not run and try to bunt as you are running. Jesse 
Burkett a famous bunter of the old Cleveland team lost time 
bv not running before he bunted, but saved time by laying the 
ball where the fielders had trouble reaching it If a batter 
makes a fielder go two extra steps to get a ball he can run ten 
steps while the fielder is running two steps. 

Bat always, not for yourself, but for the team. 

Practise batting as much as possible. You cant get too much 
batting practise. The chances are that you never ^ylll get half 
enough batting practise. An hour's, batting practice and ten 
minules' fielding practise for each individual is my idea of 
proper relation of the two departments of Base Ball. Batting 
is difficult. Fielding is easy. So battmg needs ten times more 
practise than fielding. 









The "Drive," in which the ball is hit as it is opposite the forward foot 
send it over second base. 



SPALDING'S ATHLETIC LIBRARY. 



Points of Fielding 

Fielding, more practised than batting or pitching, is, to my 
mind, the least important thing in Base Ball for the reason that 
any active boy with what is known as good hands can, with 
practise and some instruction, become a good fielder. Pitchers, 
batters and base-runners, o-n the other hand, must possess some 
original natural talent. Catching a fly is the easiest thing in 
Base Ball. Good fielding is another thing. On the whole, it 
may be said that : 

A fly ball should always be taken so that the fielder is in 
position to instantly throw to the base to which he should throw. 

There are two ways of taking a fly ball : A fieldef may take 
it with the hands cupped at his belt or with the hands held at 
the chest in the shape of a "V." 

There are unimportant modifications of these standard styles. 
Taking the ball with the cupped hands, knuckles down, at the 
belt, is the method most favored by experts. It is the most 
stylish and gives the fielder better chance to throw quickly than 
the ;V" style. 

Either style is effective. I prefer to see a fielder, especially 
an outfielder, take the ball with the cupped hands at the belt, 
well in front of him, to taking it with the hands together in 
the "V" style at the chest. Another reason why the method of 
cupped hands at the belt is preferable is that the fielder can 
take the ball on the run towards the diamond and throw as be 
runs. Every outfielder and, if possible, every infielder, should 
be moving towards his play as he takes a fly ball. Outfielders 
should, if possible, manage to take all fly balls on the run — or, 
at least, on the move — towards the diamond. 

Some great fielders, notably Owen ("Chief") Wilson, made it 
a practise to circle back under high fly balls hit over their heads 
until they got the ball between them and the diamond. Then 
they would come in, take the ball on the run and, if necessary, 
throw tO' the proper base to stop or to hold a runner trying to 
advance. 

This style of taking a fly ball on the run towards the diamond 
is to be commended. It helps the fielder to get more power 
into his throw. It also' tends to confuse a runner who is alert 
on a base ready to start the moment the ball touches the hands 
of the fielder. When he is in motion the fielder can take the 
ball high over his head, at his belt, or oflf his shoestrings. This 
will confuse the runner, who must await the actual catch before 




\ 




The "Cut" Ball Lit after it has passed the center of the plate to cut it 
over third base. 



SPALDING'S ATHLETIC LIBRARY. 47 

he can start from his base. The momentum of his run aids 
the fielder in making his throw. 

Always throw overhand from the far outfield to any base. If 
the throw is a long one and meant to stop a runner, better 
sacrifice a little time to power of throw and to accuracy. A 
hurried throw is rarely accurate. Nor does the ball travel as 
fast as when sped by an unhurried arm. So when you have to 
make a long throw to stop a runner, aim for power and accu- 
racy rather than try to save time by throwing in a hurry. 

Always bound a long- throw to the baseman or catcher. Never 
try to make a long throw clean into the hands of the inlielder 
or catcher. Keep the ball low. Let it take one long bound to 
the man who takes it. The ball takes renewed speed with the 
bound. 

Infielders catching fly balls should, if possible, take the ball 
with their faces toward the diamond. Thus they can see the 
next play. It is difficult to catch a fly ball going away from the 
batter. 

Never hold the ball in the outfield. Return it at once to the 
infield. You can't make a play by holding a ball. 

PICKING UP GROUND BALLS. 

Always, so far as possible, take a ground ball on the "short 
bound," that is, as it arises from the ground, not at the top of 
or the finish of its bound^ — "on the long bound," as profes- 
sionals call it. The short bound can't fool you. The long 
bound may fool you. So far as possible take all ground balls 
in front of the leg that is farthest back. Never, if you pos- 
sibly can, let a ground ball drive you to take it as you are 
backing up. When an infielder backs up on a ground ball he is 
lost. Always, if possible, come in on a ground ball. l3o not 
wait for it, or retreat as it approaches. Always walk or, if you 
are obliged to do so, run in to meet the ground ball. "Play the 
ball," that is, command it and the situation. Advance upon it. 
Never let the ball "play you," that is, force you to retreat or 
wait for it. 

Infielders will find it to their advantage to throw overhand, 
if they have time. It is easiest, most accurate and stylish. 
Second basemen should make the short throws underhand. It 
is the quicker and, for them, the more stylish method. 

A second baseman should never make the short throw to first 
overhand. It loses time and is not styHsh. Infielders must 
throw from all positions. Avoid the sidearm or underhand on 
a long throw whenever possible. It is inaccurate and makes a 
heavy ball hard to handle at the receiving end. 




1— Proper manner in which to place the hands for ground ball; fielder 
in position to throw. 2 — Incorrect manner in which to play a ground 
ball ; fielder in awkward attitude. 



SPALDING'S ATHLETIC LIBRARY. 49 

Always aim at a certain mark— a button on the baseman's 
shirt, his knee, his shoetops, his belt buckle— when you have 
time to do so. Aiming at a certain mark makes for accuracy. 

It may be of interest to young fielders to know that they 
must not wait for the fabled "crack of the bat," so popular with 
Base Ball reporters in describing how fielders make "great 
catches." The fielder who waits for the crack of the bat before 
he starts for the ball will lose many a putout. To get a good 
start on a fly or ground ball, watch and measure the speed of 
the pitch and the time of the bat stroke and the stance of the 
batter as he hits. Practise a good eye and Base Ball instinct will 
help you determine where to go to get the ball when it is hit. 

Don't wait for the crack of the bat. Watch the speed of the 
pitch, whether it is curve or fast ball, the time of the bat 
swing, and get a start in the right direction. Start easily, but 
be on your way. 

In his excellent book on "How to Play Lawn Tennis," pub- 
lished by The American Sports Publishing Company, Fred B. 
Alexander lays down one vital principle which holds for all ball 
games, especially for Base Ball. It is : 

"Alzvays, so f>ar as you possibly can, be going tozvards the ball 
zvhcn you make your play. Don't back azvay from the ball." 

This holds as a vital fundamental principle in Base Ball — in 
batting and fielding. 

Always be going forzvard—ntwQv away from— the pitched ball, 
the fly or the grounder. 





/ 



1 — Catching the ball stand 




"V" style 



ard style, knuckles down. 2— i 



an uncertain method. 



2— Catching the ball 



SPALDING'S ATHLETIC LIBRARY. 51 



Advice to Yound Catchers 

Stand as far to your left as is wise. Stay close to the right 
handed batter. Try to catch all pitched balls, so far as you can, 
opposite your right, o^r throwing, shoulder. 

Take but one step to throw. Let that step be quick and short. 

'Do not sacrifice time to secure accuracy in throwing to bases. 
Some catchers try to put the ball right on the bag, in fact "reach 
out and touch the runner," as the saying goes in the big leagues. 
Do not do that. Let the baseman have the ball in as good time 
as you can. Lie must touch the runner. 

Throw to all bases. 

Never take the pitched ball on your left side if you can avoid 
doing so, especially not with a runner on base. 

The catcher has the entire infield in front of him. He can see 
what is being done on the bases, where the pitcher and inlielders 
cannot, as their backs may be to the runners. 

So, young catchers should get into the habit of calling the 
play in the infield ; that is, directing where the ])all should go. 
As soon as the ball is hit fair, tear off the mask and call the 
play; who shall take the ball and where he shall throw it. Yell 
it out. Don't be afraid to take the responsibility. 

Always get the mask off instantly on the ball being hit or 
fouled. A quick tug or jerk at the chin and the mask is off. 
Nothing so pleases managers as to see a young catcher get rid 
of the mask in a hurry. 



SPALDINQ'S ATHLETIC LIBRARY. 53 



Play Base Ball with a Gay, Sprightly Air 

Players, even some great professionals, do not know how to 
walk on a Base Ball field. They walk as if to a funeral or to 
dig a ditch. Remember, always, that playing Base Ball is the 
greatest fun and sport in the world. Walk on the field that 
way. Carry your head high, your' eyes all about you. Let your 
smile be gay, your eye mirthful, your tongue jestful and gay. 
Smile at the spectators, be they friends or foes. Respect them. 
They do you the honor of coming to see you play. Do them — 
and yourself — the honor of giving them the best that is in you. 
Be polite; civil spoken. Answer questions respectfully. Thus 
you will keep friends and make friends. Walk to your position 
briskly and gaily. If the ball is batted or thrown around in 
practise, field and throw it in a bright businesslike manner. Be 
alive. Have ginger. Entertain the spectators and do credit to 
yourself. Make them say, "That looks like a team of fine boys." 

When you finish your half inning in the field do not loaf 
back of the outfield. Hurry in to the bench and, while on it, 
keep awake and watch the play carefully. 

There is nothing a manager so dislikes as an indolent player 
who does not manifest any interest in the success of his team. 
As you play Base Ball for but two hours a day, you can con- 
centrate a lot of effort into that short period. 

Do not use bad language. Vulgarity never won a ball game. 
The standard of Base Ball is getting higher yearly. To be 
known as a "mucker" is an unenviable reputation. 

Do not growl at or nag the umpire. Nor blame your own 
errors on him. Fisfhting the umpire is wholly unprofitable and 
takes your mind off the game. 



SPALDING'S ATHLETIC LIBRARY. 



1-^' 



''^.. 



^ Third 
Base 



First , 



Pitchers 



'=^ 



Box 



:*^. 



.<^' 



y 



Diagram of Diamond for Boys Under 16 Years of Age. 

As Approved by the Joint Playing Rules Committee, Chicago, Feb. 10. 1920. 

The official dimensions of the diamond for boys under six- 
teen years old, as approved by the major leagues' joint rules 
committee, is as follows: Distance between bases, 82 feet; 
home plate to second base, 115 feet iiYi inches; home plate 
to pitching rubber, 50 feet. The official ball shall be not less 
than 81/2 nor more than 8Y4 inches in circumference and shall 
weigh not less than 4V2 nor more than 4Y4. ounces. The 
Spalding "Official National League Jr." ball or the Reach 
"Official American League Jr." ball should be used in all 
games played under these rules. 



IVh}^ Boys Should Read Books of Instruction 
on A thletic Sports 

No one person can be expected to know everything on one 
subject. But when the ideas of a number of persons are collected 
in one group, the combination of ideas becomes valuable. 

Spalding's Athletic Library was started to help everyone interested 
in athletic subjects. The leading authorities on each athletic sport 
are obtained to present not only the results of their own observa- 
tions, but to give the ideas of the leading players in the particular 
sport on which the book treats. 

For instance, every boy should read the books on base ball, a 
list of which is given in the front pages of this book. The Base 
Ball Guide should be read by every player — the rules, anyway. 
Under each rule is given the explanation of the official text, which 
will help clear any statement in the rules that is not easily under- 
stood. These explanations by the editor, John B. Foster, are so 
well done, that even the National League ordered copies to send to 
persons who might ask for decisions on certain points. 

Mr. Foster has also written an entirely new 
book on "How to Bat." His acquaintanceship with 
all the big league players for twenty-five years 
has enabled him to give the accumulation of his 
numerous talks with the best and his observation 
of their methods. How to hold the bat, how to 
stand, what to do — it is all in "How to Bat." The 
price is 25 cents. 

Just as carefully written as the book on bat- 
ting. IS the Spalding book on "How to Pitch " 
Most thoroughly compiled, and illustrated with 
diagrams that tell at a glance what otherwise might 
take pages, this volume will teach the young pitcher 
how to hold the ball, how to throw the different 
curves and shoots, and what to avoid. Price 25 
cents. 

..J^*^!^ ^°^^? *^^* ^^'1 ^® helpful are the new 
Knotty Problems" (price 25 cents), which gives 
questions and answers on the difficult situations 
that arise in a game; "How to Umpire," also 25 
cents, that instructs the umpire just as thor- 
oughly in his line as the volumes on the other 
positions ; and the other 
standard books on how 
r^ \ to play the various 

positions on the dia- 
mond. 



^' 





The "Official" Boys' Ball 



..^rWes^p'g'oe ^, 



^ official '^^ 







The Spalding "Official National League" ball has been the 
only ball that the National League has used since 1878. It has 
stood the test of time and its use during all these years by the 
National League for its championship games and in the world 
series, is a tribute to the high quality of Spalding manufacture. 

The Spalding "Official National League" Junior ball has the 
patent cork center, same cover, same inside materials every- 
thing as the regular Official National League ball, the only 

variation being in its size, to fit the boys' hand. Games in 
which this ball is used are recognized as legal games. 

Boys who play with an "Official National League" Junior 
ball early accustom themselves to the "feel" of the big league 
players' ball and thus have no difficulty into working into the 
use of the larger ball when they grow older and commence to 
play on the regulation diamond. 

Boys should always insist, therefore, on playing with a 
Spalding ball. The "just as good" kind is never just the same. 

The price of the Spalding "Official National League" ball is 
$L75 each, or, when ordered in a quantity of half a dozen or 
more at one time, the price is at the rate of $18.00 per dozen. 

SPALDING BASE BALL BATS. 

Spalding Base Ball bats are made in every style and at every price, 
from 25 cents to $2.00 each. The Spalding Junior "Players' Auto- 
graph" bat is the style endorsed by Mr. Sheridan. It is made exactly 
the same as the big leaguers' bats, only a little smaller, of course, 
and costs $1.75 each. 



John B. Sheridan 



originator of the Boys' size Base Ball Diamond, as 
adopted by the Joint Playing Rules Committee of the 
National and American Leagues at the Annual Meeting 
in Chicago, 1920, 

Endorses the Spalding 
''Official National League'' Junior 
Patent Cork Center Ball 

St. Louis, Mo., April 15, 1920. 
A. G. SPALDING & BROS. 

Gentlemen: 1 have examined the Spalding Official 

"National League" Junior Cork Center Base Ball, and 
find that it is made exactly in accordance with my 
suggestions for a boys' base ball to the Joint Rules 
Committee of the National and American Leagues at 
the meeting held in Chicago, February 10, 1920, and 
adopted by those organizations. Inasmuch as it is a 
replica of the Official Ball as used in the world series, 
I think it is particularly suitable for boys' use, as it 
accustoms the youth to the general "feel" of th* 
Official League Ball. 

I also have tested the bats of the Spalding line, and 
would recommend "Players' Autograph Junior" No. 
150J Bats as being the proper models from which a 
boy should make a selection. 

My new book, "Base Ball for Beginners," published 
by the American Sports Publishing Company, 45 Rose 
Street, New York, will contain detailed suggestions 
for not only boys, but older players as well, perfecting 
themselves in the technique of base ball. 



J^.ydii^^M^ 






jAftLDlNG 



/ ^;s^ Official'^, 



i *'«sgdfe^i 




''^^-mg 



Why there mast be an Official Ball, and 
Why the Spalding Ball is Official 

Every condition as to a base ball must be uniform if 
match games are to be played and compared with accu- 
racy and justice. The Spalding Official National League 
Cork Center Base Ball establishes uniformity around the 
world. The length of base lines is fixed, the limitations 
of the bat are regulated, and the Spalding Base Balls, in 
weight, circumference and materials, are perfect. When 
A. G. Spalding submitted to the governing body of base 
ball the first sample of a uniform base ball that had been 
devised, he made it possible that, no matter where a 
game might be played — Maine or California — all players 
would know their achievements would have a value 
because the Spalding Base Ball was standard for batting 
and fielding. From the first, the Spalding Base Ball was 
one of the most vital factors in spreading active base 
ball around the world. The wiry Filipino, the agile 
Japanese, the athletic Australian and the "Doughboy" on 
the Rhine play with the Spalding Official National League 
Base Ball, knowing it is just like the base ball which is 
being used by the "big leaguers" on the Polo Grounds. 




A Word to 

Buyers and Users of 

Athletic Goods 

You don't "pay for the name'"' 
when you buy something 
"Spalding," as those who are after 
larger profits often allege. You pay 
for — and get — satisfaction. The 
name, as evidenced in the Spalding 
Trade Mark, is put on as a guaran^ 
tee that you get what you pay for. 



Oh 




LIBRARY OF CONGRESS ^ 

^^^ * * A-^*-^ * *^-^ ^^ ^ 005 900 526 1 % [s 

Official and Standard 




SB<y:/DiNG 

ATHI/ETIO 



^^^ Standard 



• i«]i 




of the 



World 



Maintain Wholesale and Retail Store* in the following Cities 

London, England 
Liverpool, England 
Manchester, England 
Birmingham, England 
Bristol, England 
Edinburgh, Scotland 
Glasgow, Scotland 



New York 


Baltimore 


Newark 


Washington 


Philadelphia 


Atlanta 


Boston 


New Orleans 


Pittsburgh 


Dallas 


Buffalo 


Cleveland 


Syracuse 


Cincinnati 


Rochester 


Columbus 


Albany 


Indianapolis 



Chicago 
St. Louis 
Detroit 
Louisville 
Milwaukee 
Kansas City 
Des Moines 
Minneapolis 
St. Paul 



San Francisco 

Oakland 

Los Angeles 

Denver 

Salt Lake City 

Seattle 

Portland, Ore. 

Montreal, Canada Sydney, Australia 
Toronto. Canada Paris, France 



Factories owned and operated by A. G. Spalding & Bros., 
and where all of Spalding's Trade-Marked Athletic 
Goods are made, are located in the following cities 

New York Chicago San Francisco London, England 
Brooklyn Philadelphia Leeds, England ^ 

Boston Chicopee, Mass. Brantford, Canada 




